REVIEW: ‘No Place To Be Single’ Finds Its Place In The End

No Place To Be Single (Non è un paese per single) is one of those romance films that takes its time to win you over. Directed by Laura Chiossone and written by Alessandra Martellini, Giulia Magda Martinez, and Matteo Visconti, this adaptation of the bestselling novel of the same title by Felicia Kingsley features some incredibly messy characters, none more so than its main couple. And it’s in the stark differences executed between these two that make this film a mixed bag, but through a miracle third act, the romance finally hits.

Set in the fictional Tuscan town of Belvedere in Chianti, No Place To Be Single opens with a fairytale-like narration, establishing a whimsical tone that doesn’t quite hold beyond the introduction to the town and its inhabitants. Emphasized is the fact that everyone in this insular community is either coupled up or in search of love. Well, except for the single mother and our main romantic female lead, Elisa (Matilde Gioli), who is independent, tomboyish, and in no rush to find a match. Fate has other things in store, however.

Meet, for all intents and purposes, emotionally stunted player, Michele (Cristiano Caccamo), who is very pretty and won’t stop comparing himself to his deceased older brother, Giorgio. The difference between the two characters is night and day: Michele lives in Milan with a high-paying career, while Elisa manages the Le Giuggiole estate for the Count. At least, until the Count is found dead on the estate. And, as luck would have it, the Count is Michele’s uncle, meaning that he is the direct heir to the property. 

The leading couple has a lot of growing up to do before they can settle down.

This brings Michele back into Elisa’s life after years apart. With his plans set on selling the property, which includes Elisa’s family’s home, a plan is hatched, albeit poorly, by Elisa, her sister, Giada (Amanda Campana), and her mother, Marina (Cecilia Dazzi), to do whatever they can to keep Michele and his shut-in gamer brother, Carlo (Sebastiano Pigazzi), from selling their home. Needless to say, shenanigans (and love) occur.

Meant as a loose adaptation of Jane Austen’s Pride and Prejudice, No Place To Be Single lacks some of the charm of its inspiration. Part of this is due to the onscreen construction of our leading couple, with Elisa more the Lizzie Bennet and Michele the Darcy. The class and personality differences are very much there, with the threat of Elisa’s home being taken by this old childhood friend mirroring the Bennet family’s home situation in Austen’s novel. What is lacking in Elisa and Michele in the film is the nuance and layers that made the clashing Lizzie and Darcy so fascinating to watch.

For the first half of No Place To Be Single, Matilde Gioli and Cristiano Caccamo don’t quite manage to elevate their characters beyond their respective tropes. Even more so, the two lean heavily into their characters’ immaturity, which makes their inevitable coming together a little difficult to swallow. However, as plot points converge in the final act, Gioli and Caccamo are able to showcase a bit more of their characters’ growth in their performances, with the much-needed depth and soul searching arriving in the final hour.

No Place To Be Single rides on the strength of its secondary plots.

While the main romantic couple flounders throughout, No Place To Be Single has secondary plots that helped give this film more to latch onto. Elisa’s daughter, Linda (Margherita Rebeggiani), is determined not only to lose her virginity but also to find her absentee father, who is purportedly in Australia. The relationship that develops between Linda and Michele, the latter who takes on a more paternalistic role, never feels forced. He sees a kid trying to grow up too quickly, though funnily enough, he gives her advice that punctuates his own hypocrisy.

Sure, Linda comes across as any teenager would, but the relatability and simplicity of her journey are surprisingly grounding for No Place To Be Single. And Margherita Rebeggiani’s performance never goes overboard, even when her Linda makes an incredibly bratty decision later on, making it easier to want to stick with her plot over Elisa’s at times. In fact, some of Elisa’s best moments are when she’s paired off with her daughter.

Similarly, the secondary romance between Giada and Carlo is much more seamless in its execution and chemistry. There is the messiness that comes with Giada’s preferences in men, particularly in this town that is obsessed with pairing up. Yet, this different flavor of the opposites-attract pairing is far more successful. Even when friction arises between the two, there is a balance in Amanda Campana’s and Sebastiano Pigazzi’s scene work that makes them a more compelling watch.

Arguably, the best storyline in No Place To Be Single is the one that doesn’t entirely center romance.

One thing that can’t be denied when it comes to selling the romanticism and a possible trip to the region is the setting of No Place To Be Single. While the film is set in a fictional town, the film was shot in Tuscany, and god, is it gorgeously shot. With the sweeping hills, lush vineyards, and breathtaking scenery, it’s no wonder Elisa and her family don’t want to part ways with their home. And as a low-key advertisement for the region, the cinematography sells it.

No Place To Be Single is an uneven romantic venture, with its main couple struggling to convince anyone whether they should end up together. However, through some final hour intervention and the sideplots coming in for much-needed support, this romance finds its place after all. If only the secondary plots weren’t more interesting than the romance we’re actually supposed to be focusing on!

No Place To Be Single is now streaming exclusively on Prime Video.